We have collected this list of pottery terms and abbreviations used by ceramic artists in most areas of the world. Each culture has established terms which define materials, processes, tools, ingredients and production techniques. For pottery lessons and tutorial, please visit our Tips index page

Absorbency

The ability of porous materials to attract a liquid (water) into its air spaces. In the production of pottery this is useful for the application of glaze to bisque ware in preparation for the glaze firing. The absorption rate of finished pieces (after firing) should be of concern to the consumer. Pieces with lower absorption rates tend to be more durable. See also bisque.

Bisque

This
term may also be seen as bisc, biscuit, bisqueware,
bisquefired, biscuit. Refers to both a preparation firing
process and the pottery piece that has undergone the firing.
The firing is to a temperature that brings about a physical
and chemical change to clay. Atomically attached molecules of
water are driven off the individual clay particles and they
are fused together transforming them into one piece. This
intermediate step in glazed ceramics gives bisque ware the
ability to absorb water of the glaze solution causing the
glaze materials to adhere to the piece while it maintains its
shape. Considered to be in the "low-fire" range, some pieces
are never fired above this and are therefore usually less
durable. See also firing.

Black
core

Occurs
during the firing process when carbon inside the clay body has
not been sufficiently eliminated. All clays contain some
carbonaceous matter, which oxidizes during firing at
approximately 1400 F producing carbon dioxide that escapes
from the claybody. If the presence of oxygen is insufficient
in the kiln atmosphere, the carbon cannot be eliminated from
the clay and it is left in a weaker state. This tends to occur
more during a "reduction" firing where oxygen in the kiln
atmosphere is reduced. See also firing, reduction.

Blackhard

A
stage in the drying of a piece of pottery where it is no
longer malleable, but it has not yet dried out completely. The
moisture content still in the piece gives is a dark tone. See
also greenware, cheesehard, leatherhard, whitehard, bisque.

Bone
china

A
clay body created 18th century Britain as an attempt to
duplicate the translucent ability of Oriental Porcelain, whose
formula was kept secret form Europe. This claybody is
difficult to work with on a potter’s wheel and is most
conducive to slip-casting or press-molding. The names is
derived from the fact it is an attempt to reproduce porcelain
from China using Bone Ash as a primary ingredient. It is still
in use today and, because of its durability, it is considered
an excellent claybody for use in dinnerware. See also china, porcelain.

Burnishing

A
process by which leatherhard or blackhard clay is made smooth
by rubbing it with a hard smooth object like a stone, spoon or
piece of glass. This procedure gives the piece a polished
look. Burnished pots are usually unglazed but sometimes fine
slips are applied to add to the decorating. Burnishing not
only adds a glossy surface, it also contributes to the
durability of the clay by making it more resistant to water
absorption. See also leatherhard, blackhard, slip.

Casting
slip

A
cream-like mixture of clay and water used in the process of
producing ceramic objects by means of pouring the slip into a
porous mould. Water is drawn from the slip and into the mould,
leaving a thin shell of soft but non-liquid clay around the
inner surface of the form. When the slip achieves the proper
thickness, the excess liquid is poured out and the remaining
slip is left to dry completely. It is then removed from the
mould, cleaned up, glazed and fired. This quick and simple
process is used for mass produced ceramics leaving only the
glazing as an opportunity for uniqueness. The term slip
casting is also used to describe the process. See also glaze, clay.

Ceramic
change

A
transition that takes place in clay when it is heated to
approximately 1100 F or higher. At that temperature,
chemically attached water molecules are separated from the
clay particles. These clay particles are fused together and
the ceramic object is permanently changed. Prior to the
transformation, when clay objects are re-introduced to water
the clay particles will slake (fall apart) and re-dissolve
into the water. They can then be re-constituted into workable
clay and used again. Low fired pottery is heated to only
slightly beyond this point and will tend to be less durable
than high-fired pieces. See also firing.

Ceramics

From
the Greek word "keramos" meaning potter’s clay; it refers to
clay products made permanent by the application of heat (see
ceramic change). It also describes the subject of study of a
person known as a ceramicist. In addition to artistic
endeavors, ceramics have many applications in industry where
it is used for engine parts, electronics, medical equipment,
and many other areas. When discussing art, this term is often
used interchangeably with pottery. Ceramic artists, today, are
sometimes referred to as "potters". See also pottery

This
term was originally used by the British for all ceramic
imports from China and European imitations of it. Today, it
implies a translucent white claybody covered with a glaze that
is fired to a temperature lower than that to which the
claybody is fired. See also bone china, porcelain.

Clay

A
naturally occurring inorganic substance composed of very small
"plate- like" particles. These particles, when mixed with
water as a lubricant, can slide past each other with relative
ease. Known as "plasticity" or "workability", this gives clay
its unique characteristic. Clay with finer particles is said
to be more plastic than coarser clays but there is also more
shrinkage during the drying and firing process. The various
classifications of clay are determined by size, color,
chemical make-up and purity. See also claybody, porcelain, china.

Claybody

As
used by the ceramicist, a claybody, is a combination of
various types of clay, minerals, and other materials. One
material commonly added to the claybody is grog, which eases
handling and increases durability. The recipe or formula is
determined by the intended use of the final product to be
produced. This is one of the reasons a combination of clays is
used to create a claybody suitable to the ceramicists needs.
Preparation of the claybody will arrange the clay
particles alongside each other, making the clay more workable
and durable. There are numerous types of claybodies used in
ceramics today. The most popular of these include earthenware,
stoneware, bone china, and porcelain. When purchasing a piece
of ceramics, it is important to choose pieces made with a
claybody appropriate for the piece’s intended use. See also wedging, clay, grog.

Coiling

A
hand building technique where snake-like pieces of clay are
placed in a spiral formation, thereby building a cylindrical
shape. The coils are then smoothed out so that the piece takes
on a continuous contour. Only rarely are the coils left
showing. Because coiling is a slow process and coiled pieces
have an increased chance of weak points at any of the joins
between the coils, coiled pieces generally do not lend
themselves well to functional pieces. See also hand building. See How to Construct Coil Pot tutorial / lesson

Cones

Small,
elongated, three sided pyramids made of materials designed to
melt at a specific temperature. Designed to melt at the same
temperature as the glazes used. Cones indicate the progress of
the melting. Cones are placed just inside the kiln during a
firing so they can be seen through a peephole. The cones are
one-time use only, and are available for a wide range of
temperatures. They are numbered according to the temperature
at which they melt. When discussing the temperature to which a
piece/glaze is fired, reference is usually made to the cone
used. The low fire range usually includes cones 06 through 01,
intermediate fire includes cones 1 through 6, and high-fire
includes cones 7 and up. See also firing, kiln. See Firing Tips and Tutorials

Contraction

A
decrease in size due to a temperature change. It should not be
confused with shrinkage, which is a non-reversible occurrence.
Contraction is reversible with a reverse in the temperature
change. As a piece of ceramics heats and cools, it expands and
contracts. The rate of expansion and contraction of a glaze
must be compatible with that of the claybody, otherwise
flaking off or separation of the glaze may occur. In pottery,
this should be a concern when considering glaze fit and
ovenware. See also glaze fit, ovenware, shrinkage.

Crazing

Also
referred to as "crackle" and "spiderwebbing", it is considered
a defect in the glaze brought about by a difference in the
amount of shrinking in the clay and the glaze. Usually
undesirable, it is sometime used as a decorative element, but
should be avoided for pieces intended for dinnerware and
kitchenware. See also glaze.

Decorative

A
general term describing a ceramic piece that has no purpose
other than art or decoration. Typical examples include
sculptures, and wall hangings. Some seemingly functional
pieces are only decorative pieces are actually decorative only
because of how they are produced. See also functional.

Dunting

The
cracking of pottery caused by stress during the firing and
cooling process. During the firing, clay goes through what is
called a "silica inversion" at slightly over 400 F and again
at slightly over 1000 F. This transformation puts a lot of
stress of the clay. Another cause may be the different
contraction of the clay and the glaze. All pottery goes
through this stress but most are strong enough to withstand
it. Dunting is not always evident immediately upon removal
from the kiln. It sometimes occurs as much as a month or more
later but it should not be confused with cracks caused by
"thermal shock". See firing.

Earthenware

A
type of claybody usually associated with low-fired ceramics.
Earthenware tends to be more porous than higher fired clays.
The relatively low physical hardness of both the clay and the
glaze tend to make earthenware less durable then higher fired
claybodies and less appropriate a choice for functional
pieces. See also stoneware, porcelain.

Firing

The
process of exposing ceramic pieces to high heat in order to
convert them into durable finished pieces. During firing, the
clay and/or glaze goes through a transformation whereby it is
fused together into a solid piece. Unfired clay will dissolve
in water, but the clay becomes impervious to water after
firing. Although some fired pieces may still absorb water,
this will have not an adverse effect on them.

An
experienced potter can achieve a wide variety of results by
carefully controlling such firing factors as the rate at which
pieces are heated and cooled, the presence of other materials
in the kiln, and the amount of air (oxygen) that is present in
the kiln. Often, pieces are fired several times at various
temperatures levels in order to achieve the potter’s desired
results. Higher fired clays such as stoneware and porcelain
tend to be less absorbent and more durable. See also kiln, oxidation, reduction, salt glaze, raku.

Ware
created with a claybody capable of withstanding extreme
thermal shock produced by direct contact with an open flame or
being subjected to a pre-heated oven. There are a number of
factors that could classify a claybody as flameware, but the
key factor is the ability of a piece to remain intact while
different areas are experiencing a difference in temperature
of several hundred degrees. When purchasing a piece for the
purpose of such use, check the label or get some other form of
confirmation. Flameware is sometimes referred to as
"cookware", but it should not be confused with "ovenware"
which cannot withstand a similar direct contact with a heat
source. See also ovenware.

Food
safety

Some
glaze formulations may contain lead and other heavy metals,
which may leach into liquids and foods placed in contact with
the glaze. Today’s potters are keenly aware of this issue and
are careful to use appropriate glazes and production
techniques to eliminate these concerns. When shopping for
pottery to be used for food, it is best to always ask and to
shop at reputable stores that only carry pieces created by
experienced potters. See also glaze, lead. Are Matt Glazes Food Safe - see more information

Form
follows function

A
philosophy of design that is used to determine the design
characteristics of a piece produced for a particular purpose.
The design or form of the piece is defined by the intended use
in balance with aesthetic considerations, instead of being
defined purely by aesthetics. If the function is less than
acceptable, then that form must be corrected when used for
subsequent pieces, even when the corrections remove
aesthetically pleasing aspects of a piece. For example, a
teapot may have a beautifully spiraled spout that is dribbles.
Under this principle, the design of the teapot must be
modified so that it functions correctly. See also functional, decorative.

Frit

Glaze
materials that have been combined by melting and are reground
to powder to be used in subsequent glaze formulations. There
are several reasons why this process may be necessary. Some
glaze materials are highly soluble in water. Soluble minerals
cause problems for the potter when present in glaze recipes.
The fritting process renders them insoluble. Another important
reason is to "trap" hazardous materials, such as lead, which
would otherwise be absorbed by the potter when working with
finely ground glaze materials. See also glaze, grog.

Functional

A
general term that refers to any ceramics piece that is not
purely decorative and has some intended use. Typical examples
include teapots, bowls, mugs, and vases. Some seemingly
functional pieces may actually be decorative only because of
how they are made, or because of the type of claybody or
glazes used. For example, the artist may create decorative
teapots that are porous, or may glaze bowls with glazes that
are not food safe or that cannot take fluids well. When
shopping for pieces for a specific purpose, make sure to
confirm that they can, indeed, be used for that purpose. See
also decorative, form
follows function.

Glaze

A
mixture of various materials and colorants, which are ground
into a fine powder, mixed with water, and applied to ceramic
pieces. This mixture, when exposed to high temperature during
firing will melt and vitrify, thereby forming a glass-like
surface that is fused onto the ceramic piece.

Glazes
can be applied to dried unfired ceramics (greenware), or to
ceramics that have been already been fired. Some complex
pieces involve various cycles of glazing and firing to produce
the artist’s intended effect. Glazes are usually referred to
by the temperature, or cone, at which they melt. For example,
a cone 10 glaze, which is a high-fire glaze.

The
compatibility between the glaze and the clay used in the
production of pottery. The match does not have to be exact but
it must fall within an acceptable range. If not, various
problems may occur with the piece, such as cracks in the
glaze, shivering and shelling (glaze flakes off the clay) or
dunting (various types of cracks in the claybody). The best
way to avoid these problems when shopping for pottery is to
deal with a reputable store or artist that will stand behind
their pieces with a warranty and a good return policy. See
also contraction.

Greenware

A stage in the production of pottery where a vessel and been from and is going through the drying process necessary before it can be safely fired. There several sub-stages in greenware. They are: Cheesehard, Leatherhard, Black-hard, White-hard. Several decorative techniques are possible during these different stages of the drying process. See also leatherhard, blackhard, whitehard, bisque.

Grog

A
sand-like substance that is added to a claybody to add
workability and strength to the clay. Grog is actually
high-fired clay that has been ground down to a granular state.
Because it has already gone through the firing process, it
lessens the shrinkage of the claybody. In clays that require
great resistance to thermal shock, such as Raku and flameware,
large amounts of grog are usually present. See also shrinkage, claybody, raku, flameware.

Hand
building

Any
one of various techniques for creating ceramic objects that do
not involve the use of a potters wheel. These methods include
coiling, slab building, and pinch pots. Hand built pieces are
usually decorative instead of functional, primarily because
the seams make them less durable and the unevenness of the
surface makes them more difficult to clean. See also coiling, slab, pinching. See Hand Building Project Ideas

High-temp
glaze

Glazes
that have a maturing temperature at or above 2200 F (cones 7
and up). High-temperature glazes are known as stoneware and
porcelain glazes. They tend to be more durable but less
vibrant in color. Functional pieces such as casseroles and
dinnerware are usually better if they are high-fired ware.
Sometimes referred to by the "cone" to which they are fired,
as in a Cone 10 glaze. See also glaze, cones.

Intermediate
glaze

Glazes
that have a maturing temperature between 1900 F and 2200 F
(cones 1-6). This is a wide range and not all intermediate
glazes are interchangeable. A piece that has a good fit
between the claybody and glaze within this range may be as
appropriate and long lasting as high- fire wares, and are
often more colorful. See also glaze, cones.

Kiln

The
oven in which ceramic pieces are fired to convert them from
unstable greenware into durable finished pieces. This term is
derived from the Latin "culina", which refers to a structure
built for the purpose of retaining heat that is introduced
into the main chamber. There are a wide variety of kiln types
from the earliest known open pit of pre- historic times to the
sophisticated, efficient structures used by today’s
ceramicists. The many different types of kilns include:
anagama, updraft, downdraft , gas burning, electric, wood
burning, open Pit, centenary arch, raku, climbing, and salt.
See also firing, oxidation, reduction. Tips and leassons on Firing Electric Kiln

Lead

Lead
has traditionally been a key ingredient in many glaze
formulations. Since these can leach into liquids and foods,
you should take this into account when shopping for ceramic
pieces to be used for food. The danger is in the cumulative
effects that occurs with the repeated use of everyday
functional pieces. Fortunately, most functional ware is fired
to higher temperatures where lead, commonly used as a flux
(melting agent) in lower fired glazes, will not be present or
would tend to have been burned off during the glaze firing. If
you have any doubt or concern over the possibility of lead
poison, you should always inquire before making a pottery
purchase. See also food safety, glaze. More information about Lead in Clay

Leatherhard

A
stage in the drying process when a clay object can be
carefully handled without danger of the shape being deformed,
but the clay is still pliable enough so alterations can be
made if desired. Many ceramic artists take great advantage of
this relatively short period of time to add personal and
unique characteristics to their creations. It is also the
stage when attachments, such as handles, are added to
wheel-thrown pieces. See also greenware, blackhard, cheesehard, whitehard, bisque.

Low-temp
glaze

Glaze
which matures at 1900 F and lower (cones 06 – 01). Considered
a "soft" glaze, it is less durable than the underlying
claybody. Due to the relatively low melting point, the
presence of lead is almost definite. However, if the lead is
used in a "frit", the danger of lead poisoning is greatly
reduced if not altogether eliminated. See also glaze, cones, frit.

Lusters

Metallic
materials applied on glazed surfaces. Lusters are pure metals
dissolved by hydrochloric acid, which are then suspended in an
oil base that can be applied with a brush. Precious metals are
often used but whatever the metal, lusters are generally only
used as highlights such as pinstripes or small applications.
The firing is at an extremely low temperature (1200 F). The
oil resin is burned out leaving, on the glaze surface, a very
thin deposit of metal that can easily rubbed of with extended
use of the piece. See also glaze.

Maiolica

An
opaque, lead-glazed, earthenware originated in the
Mediterranean area. Should not be confused with Majolica. See
also glaze, majolica.

Majolica

Originating
in late 19th century England, Majolica has a pale yellow
claybody with shiny colorful glazes. The surface was highly
modeled providing many "pockets" where the glazes collected to
create variations in color saturation. Majolica today still
carries the connotation of brightly colored glazes but the
surfaces of the wares tends to be smooth allowing for eye
catching decorative possibilities. Should not be confused with
Maiolica. See also glaze, maiolica.

Ovenware

Pottery
made specifically for use in oven cooking. The claybody used
must be capable of withstanding thermal shock. This should not
be confused with flameware, which has the ability to withstand
direct contact with a heat source such as an open flame. There
are several factors to consider when selecting a piece for
oven use. Beside the ability to withstand temperature changes,
the piece should be designed for ease of handling, especially
when hot, ease of cleaning, and have an appropriate shape. See
also form
follows function, flameware.

Oxidation

In
pottery this refers to a process that takes place during the
firing stage of production. Oxygen in the air is allowed to
enter the kiln to combine with elements in the clay and glaze.
This is particularly important so that carbon and sulfur
naturally occurring in clay can be "burned off". This takes
place between temperatures of 1300 F and 2100 F. While all
pottery firings go through a stage of oxidation, when it is
allowed to continue throughout the entire process, it is
called an "oxidation firing". An opposite effect is known as a
"reduction firing". See also firing, reduction.

Pinching

A
technique of building pots entirely by molding the clay with
the hands without coiling, using slabs, or throwing. Called
pinching because it usually starts by a potter inserting a
finger into a ball of clay and pinching the walls to thin and
shape the pot. See also hand building, throwing.

Porcelain

Introduced
in Europe by Marco Polo after his excursions to China, true
porcelain is a very high-fired (2300+ F) white ware, which,
when thin enough, has a translucent quality. At these high
temperatures, the body and the glaze mature together, creating
a thick bonding layer. This gives porcelain great strength and
durability. Due to many difficulties of working with
porcelain, several imitations have been developed. These are
referred to as china, bone china, and sometimes erroneously as
porcelain. Although they may not have the same high qualities
as true porcelain, they may be perfectly adequate for use and
will most likely be less expensive. See also china, bone china, earthenware, stoneware.

Porosity

The
ability to absorb water by capillary action. Over a period of
time, this tends to weaken a claybody, and therefore should be
a consideration when shopping for pottery. In high-fired ware,
with a desired porosity of 1% to 2%, the concern is less
important. However, low-fired pieces must be covered with a
non-crazed glaze to minimize the effects of water absorption.
This is not to say that low-fired ware should necessarily be
avoided, but it may be less appropriate for some intended
uses. See also crazing.

Potter's wheel

A
device used by a potter to rotate a lump of clay on top of a
disk, which allows a skilled craftsperson to create a variety
of cylindrical shapes for a wide array of functional objects.
This activity is called throwing. Although the "knack" for
creating a pot on a wheel can be acquired in a relatively
short time, creating high-quality, aesthetically pleasing,
well-proportioned pieces takes many years of experience and
long hours of practice. See also throwing, hand building. Throwing on the pottery wheel - step by step tutorial

Pottery

Although
this term is usually used interchangeably with ceramics, it
more precisely refers to ceramic objects that have a container
shape, such as pots, planters, and tureens. It also can be
used to refer to factories that produce pottery pieces. See
also ceramics.

Raku

Raku
is a classification of ceramics that falls into the low-fire
range. The term "raku" describes the piece as well as the
firing process used to create it. Originally developed in
Japan as a technique for quickly producing small functional
vessels, in Western Civilization, because the process has been
somewhat altered, raku ware is primarily created as decorative
pottery. The most interesting aspect of the technique is that
a piece is taken directly from the kiln into a raku pit while
it is still very hot. The raku pit is lined with combustible
materials, which immediately ignite. The pit is covered, and
the resulting fire and smoke add a wide variety of finishes to
the piece. The process is quick, exciting, and predictable
only within a certain range of possibilities. The uniqueness
or "one-of-a-kind" aspect of a raku piece is impossible to
reproduce. This, along with its shortcomings for functional
use, is the reason raku is popular primarily for decorative
purposes. See also firing.

Reduction

Refers
to a glaze firing process or a glaze mixture that is best
enhanced when going through this type of firing. What is
actually being reduced is the quantity of oxygen that is
chemically bonded to any metal oxides in the clay or glaze
mixture. To bring about the removal of oxygen molecules, when
the kiln temperature reaches the melting point of the glazes
used the kiln atmosphere is "flooded" with combustible
material, such as gas or wood, thus causing the fire to pull
oxygen from the pieces being fired. The duration of the stage
varies, but it can be as long as an hour or more. The removal
of iron oxide in clay causes a "fluxing" (melting) action thus
creating a stronger bond between clay and glaze. In the glaze
mixture, reduction brings about a wide array of colors
depending on the combination of materials used in the glaze.
In general, reduction fired glazes tend to have what is
considered warmer tones than those of oxidation glazes. Both
have the potential for beautifully produced pieces. See also oxidation, firing, kiln, glaze.

Salt
glaze

A
glaze that is derived from the introduction of salt (usually
common table salt) into the kiln atmosphere. The salt quickly
decomposes and vaporized and combines with alumina and silica
from the clay in the pieces, creating a glossy surface. This
salt glaze actually adheres to everything within the kiln
chamber so the wares must be placed on stilts or have the
bottoms coated with materials resistant to the salt vapors.
This renders the kiln a salt-glaze-only kiln. The one place
this vaporizing glazing action does not occur is inside pots,
unless they are shallow forms with a wide opening. To overcome
this, many potters coat the insides with glaze prior to the
firing. Decorative slips are often used on the outsides of the
pieces. Pieces created with a salt glaze are sometimes
referred to as saltware, and the process, because of the
sodium in the salt, is also referred to as sodium firing or
sodium glazing.

This
is a single-firing production process that produces a very
durable glaze with the potential of very beautiful and
interesting glaze patterns. Unfortunately, the process creates
several very poisonous gases and is increasingly outlawed in
many areas. See also glaze.

Shrinkage

An
irreversible reduction in the size/volume of a ceramic piece
or glaze which is caused during the drying and firing process.
This differs from expansion and contraction, which occurs
naturally as a piece heats and cools. All pieces usually
undergo a small amount of shrinkage. It takes a lot of
experience and skill to select and work with the right types
of clays and glazes so that shrinkage does not deform or
otherwise damage a finished piece. See also contraction.

Slab

Also
slab built. Any one of various techniques for creating ceramic
objects that do not involve the use of a potters wheel. In
this technique, the clay is pressed into thin slabs that are
then cut, assembled, and shaped into the desired form. See
also hand
building, coiling, pinching.

Slip

A
mixture of clay and water usually with coloring agents in the
form of metallic oxides. Mostly seen as brushwork, slips are
best applied during the greenware stage of drying. There is
also a process of creating pottery from slip called casting
slip, or slip casting. See also greenware, casting slip.

Stain

A
compound added to glazes to add coloring. Sometimes applied
directly onto a clay body without mixing with a vitrifying
glaze. See also glaze, vitrification.

Stoneware

A
strong, hard, vitrified ware, usually high-fired above 2,200
F, in which the claybody and glaze mature at the same
temperature, forming an integrated clay-glaze layer. This
high-firing process brings the clay to a point of maximum
solidification without danger of distortion, creating pieces
very suitable for kitchenware and other functional pieces. See
also earthenware, porcelain, claybody.

Temperature

A
very important consideration in the production of ceramics.
The temperature at which the claybody and glaze of a piece
need to be fired is determined by a variety of factors and in
turn determines attributes of the finished piece such as
durability, porosity, density, and color. In general,
low-fired pieces tend to be less durable but have more
colorful glazes, while high-fired pieces are more durable,
less colorful, and work better as functional pieces. See also firing, kiln, cone.

Throwing
or wheel-thrown

A
process of producing pottery by use of a rapidly rotating disk
referred to as a potter’s wheel. The procedure involves
placing a lump of clay in the exact center of the wheel head,
creating an opening in the exact center of the clay. The size
of the opening is gradually increased and the sides are pulled
up until a cylinder is formed. A sufficient amount of clay is
left for the bottom of the piece. The sides and mouth of the
piece are then shaped, and the piece is removed from the
wheel. Once it dries to a leatherhard stage, the potter can
then go about trimming away excess clay, adding handles,
spouts or attachments, and carving, cutting, or re-shaping the
piece. An experienced potter can make this process look easy,
but it takes many years of dedication and long hours of
practice to become efficient at throwing and creating
balanced, beautiful pieces. See also hand building.

The
process, induced by exposure to high heat, by which a material
such as a clay or a glaze, melts and fuses together, thereby
becoming solid and glass-like. This is what happens to
ceramics and glazes during the firing process, and what
converts a form made of soluble materials into an insoluble
and permanent piece of ceramics. See also firing, glaze.

Ware

A
generic catch-all term referring to ceramic pieces. It is
usually combined with adjectives to form compound words such
as kitchenware, dinnerware, earthenware, stoneware, and
ovenware. See also flameware, ovenware.

Wedging

A
manual process of preparing clay for use by a potter. Similar
to kneading dough, wedging accomplishes three things: a) it
removes air pockets present within the clay mass, b) it helps
to align the individual clay particles making the process of
throwing slightly easier and the clay stronger, and c) it is a
final mixing process that tends to even out water
concentrations in the clay as well as homogenize the various
ingredients in the clay mixture. See also clay, claybody. Making a wedging table - step by step instructions

Whitehard

A
stage in the drying of a piece of pottery where it is fully
dry and has very little moisture. At this point it is ready to
be fired in the kiln. It is important that a piece be as dry
as possible before firing because moisture trapped inside the
clay can explode as it heats in the kiln. See greenware, leatherhard, blackhard, whitehard, bisque.

Your input is greatly appreciated and will help in creating improved pottery tips. Thank you, Patty and Morty